“On appropriately titled follow-up Outlier Twelve Foot Ninja distance themselves from the pack again, melding elements of prog, djent, funk, Latin, jazz, salsa, reggae, acoustic, bossa nova and alt-rock into a varied yet cohesive metal assault.
Armed with more musical ideas than most bands have in a lifetime and a level of technical proficiency to realise them, Twelve Foot Ninja waste no time asserting themselves on Outlier, with opener One Hand Killing providing a chaotic blend of heavy genres that serves as a microcosm of Outlier as a whole. As djent riffs lock in with funk filled grooves and jazzy piano passages, Kin Etik’S soulful vocals serve as the glue that holds it all together, delivering an emphatic high.”
“That We Can Play was recorded with a single stereo Pro Tools track and “outboard, secondhand vintage synths and sequencers”. Ford explained the process of making each song in an interview with XLR8R: “It’s almost like we just sit down with gear and are like, ‘Whoa, this sounds sweet,’ and then we’ll make a beat, and be like, ‘What if we do this?’ and something comes out and we move from there. Where it gets really complex—and you can’t be a slacker—is you have to inventorize all these tiny sounds and constantly be trying to fit all of these moving parts together and see what sticks—and it’s a lot of repetitive, careful-listening kind of work.”
The writing, recording and mixing of That We Can Play is rooted in 1980s power pop. On a technical level, according to Steve Shaw of Fact magazine, Games’s instrumentation includes everything expected in 1980’s music and is executed correctly: bass lines, strings, keytar and arpeggiators. Instead of merely reproducing the sound from that era, the band pushes the music into unfamiliar territory. According to Pitchfork Media’s Joe Colly, the EP has a nostalgic sound – due, in part, to the analog synths (“not just vintage but almost aged” instrumentation) and their “glitchy electro jams.””
Dunno if it’s everything this review hypes it up to be, but I dig it.
“At the crux of American-born, Shanghai-based producer Eli Osheyack’s debut album, Sadomodernism, is a question of agency. Borrowed from film theory, the album title was originally coined by writer Moira Weigel to describe a waning European art house tradition that vehemently rejects ‘naïve pleasure’—the tranquilizing comfort of conventional cinematic narrative, like mainstream Hollywood—and opts for violence and pain, with the aim of shaking audiences out of cinematic manipulation and into their own position vis-à-vis the malaise of contemporary life.
Echoing the work of sadomodernist auteurs, Osheyacks’s Sadomodernism is a deeply political project with critical ambitions. The smashing and blending of genres, from techno, industrial, noise and gabber to ballroom and metal, even opera, and spontaneous percussion arrangements, sometimes mixed with distorted spoken word, do not mean to please, but provoke through disorder and chaos. Laden with Brechtian alienation affects, Sadomodernism interrogates the notion of autonomy in contemporary music, club culture, and social-political life.”
“Satie wrote six Gnossiennes in all, the first three in 1890 and the remainder during the next seven years. The name “Gnossienne” refers to the palace of Knossos on Crete, which was being excavated at the time the pieces were written. Satie’s pieces contain his characteristic witty commentary and directions to the pianist: instructions such as “wonder about yourself,” “don’t be proud,” “with amazement,” and “lightly, with intimacy.” These short, simple piano works, with overtones of Romanian folk ensembles and Gregorian chants, predate Satie’s famous “Gymnopedies.”
Eric Satie (1866-1925) studied at the Paris Conservatory and supported himself in his early years as a cafe pianist. His early works used simplicity, repetition, and original, modal harmonies to evoke the ancient world. These early works (Gymnopedies and Gnossiennes) had an influence on Debussy who, along with Ravel, brought Satie to the attention of the general public by performing his piano pieces in concerts. Cocteau admired Satie’s modest, absurdist works and the two collaborated with Picasso and Massine on Parade for Diaghilev’s Ballets Russes in 1917.”
“There Existed an Addiction to Blood, turns the framework of horror on its head. Fear runs rampant across each track, but instead of channeling nightmares through imagination, the L.A. experimental hip-hop trio show us the terrifying nature of our own kind.”
“Peggy Gou is a Berlin-based South Korean DJ, record producer, and fashion designer. She has released seven EPs on record labels including Ninja Tune and Phonica. In 2019, she launched her own independent record label, Gudu Records, and released a DJ-Kicks compilation, DJ-Kicks: Peggy Gou, on !k7 Records.” Wiki
“The “Blood of the Fang” visual is inspired by a photo of Huey Newton — co-founder of The Black Panther Party for Self-Defense — hand-cuffed to a hospital gurney while being treated for a gunshot wound in the abdomen after a gun battle with Oakland police in October 1967.
The song itself is built around a sample from Sam Waymon’s score to the 1973 experimental vampire film Ganja & Hess. Daveed Diggs’s lyrics conjure an alternate history of black political struggle in the 1960s and 70s, name-dropping radical activists and reimagining them as a pantheon of undead superheroes fighting against systems of oppression.”
“DADDY is a spotlight for my mother’s talents in performance and dance. Through the efforts of many, it became a stage for she and I to remember, to negotiate, to duel, to release. Somewhere in-between filmmaking and rapprochement, we met there to dig up some things, to bury others, and to be in the light together.” More
“Elephant Gym is an instrumental math/post rock trio with heavy jazz and classical influences. They write technical, agile tunes with irregular rhythms and off kilter song constructions. The trio has received countless awards in Taiwan including nominations at the Golden Indie Music Awards for best album, best rock single, and best jazz single.”
“Fifty years ago, when June Millington and her sister Jean formed the all-female rock band Fanny, they felt like they were living a secret. “As a girl, you couldn’t tell anyone ‘I’m in a band,’” June Millington recalled. “You might as well say ‘I’m flying to the moon.’ It just wasn’t in the realm of experience. We had to create our own frame – and then step into it.”
In fact, they did so confidently enough to become the first all-female rock band ever to release an album on a major label, a crisp, self-titled work on Reprise Records in 1970.
Then, in 1972, they got a fan letter from David Bowie, which Millington ignored. “I didn’t know who he was,” she said.”
“”I won K-Pop Star, but I don’t even want to be labeled as a K-pop artist anymore.”
[…] Even though YG has helped shaped the landscape of K-pop and the Korean entertainment industry over the last two decades, alongside rivals JYP Entertainment (GOT7, Wonder Girls) and SM Entertainment Co. (BoA, Girls’ Generation), Kim felt as though she couldn’t produce her best work as a K-pop trainee. Especially not under the watchful eye of executives who she says have a hand in every aspect of their artists’ careers, from the songs they cut to the clothes they wear.
“Those labels are doing well, and they’ve been around for quite a long time. So I guess they’re doing something right. A testament to that is the fact that K-pop is having a big moment in the U.S. right now,” Kim says, calling out boy band BTS, whose unprecedented American crossover includes two No. 1 albums on the Billboard 200 and a historic, sold-out stadium concert at New York’s Citi Field on Saturday.
“That’s all wonderful and I’m happy for all the success that the K-pop scene is experiencing internationally,” she adds. “But that’s not me.””